Behind the scenes of Zerotrillion’s film “Nothing to hide” for Flowr, winner at Clio Cannabis

“I’m tired of having to squeeze in
Everywhere we go
I wanna feel free, be with you
I don’t care who knows. “

Jackson’s steamy delivery (about an underground love story) and the song’s urgent groove blend perfectly with shots of various nooks and crannies – sock drawers, pillows, hollowed out books – where people might hide. grass.

“We wanted the visual style to be nostalgic, cinematic and slightly surreal,” Adam Fierman, global creative director for Amsterdam and Toronto-based Zerotrillion, told Muse. “We also fundamentally believe that cannabis users are not a monolithic bunch. So we painstakingly designed each set to speak to different people and experiences. “

Based on the realization that millions of Canadians hid their weed before legalization in October 2018, Zerotrillion asked Flowr clients at a Toronto dispensary to reveal their favorite hiding places, and incorporated those comments into the script.

“We pushed for the highest quality possible, because when you believe in your team’s concept, you stand up for it,” says Nicole Wolff, former director of the Flowr brand. “As marketers in a new field, we need to move the business forward and establish our credibility.”

There’s no obvious selling point, although Flowr’s chic blue jar looks fabulous at the end of it. Rather, the work strives to establish a deep connection with consumers, portraying the company as a group of kindred spirits yearning to stop hiding and shine a light on their passion for pot.

In a conversation below, Fierman explains that despite legalization, cannabis still struggles to gain wide acceptance. Even now, many clients keep their hiding places out of sight, imbuing the effort with added urgency.

Muse: What sparked the idea?

Adam Fierman: Are you a cop? What do you propose ? Come on, Clio, maybe my mom will read this. OK, that’s a joke, but that’s also the point. Cannabis has been fully legal federally in Canada for a few years now. But while people were very public about their cannabis use among their peers, many still stuffed it into sock drawers when mom came to visit them. So what gives? It turns out that a group of older white men in parliament (no shadow, that’s statistics. Average age: 52. Average ethnicity: freshly fallen snow) can change the laws, but they don’t. cannot change culture overnight. People were still hiding. No Johnny Law, but still hidden.

It sparked the idea. Everyone has a story of hiding places, secret hiding places and hidden compartments where they hid their hiding place once. So we wanted to create a nostalgic visit to these folds and encourage everyone to leave the hiding place of the past.

“Leave the underground in the past”: how does the film advance this proposition?

[It sets the stage] for people to have an awkward but valuable conversation with their mother. Our audience is made up of healthy, legal age cannabis users, the majority of whom still discuss cannabis in low voices. Seeing the movie, I hope they appreciate Flowr trying to break the stigma. Hope they realize that there is no sales message. There is no message saying that Flowr has great products. We’re just trying to get our audience into a real discussion.

Can you guide me through the pictures?

You noticed that there is no one in the movie, right? Sounds like a stylistic choice? Wrong. While we want to do fun, creative, and impactful work, we always take government regulations very seriously. In Canada, people are a no-no in cannabis advertising. We know the rules, and it’s our job to create work that doesn’t feel restricted by them.

Can you tell us a bit about the shoot?

They were all disguised scenes in one house. The last shot in the apartment is a separate place. We wanted each setting to be as real, lived and authentic as possible. Bless the production partners. I like to think they had a lot of fun with this job, and you see it in the final movie. Plus, and it’s a secret, I wasn’t even there. After working on this film for almost a year to sell and prepare it, I was taking a two-month mental health sabbatical. My business partner, Alex Paquin, who is the CEO of Zerotrillion, stepped in to get the job done. I got back to work, saw how awesome the movie was, and realized that I should probably be missing out on other productions.

Why use this song in particular?

The script came first, but not by much. We sold the concept and I became obsessed with finding great music. Some of the Spotify servers were probably smoking. I was about 28 “maybe” when I came across Millie’s track “I’m Tired of Hiding”. And that changed everything. We definitely didn’t have the money for the track, there was a legal question as to whether we could use the track in cannabis advertising – and I knew with 100% certainty that I wasn’t going. let the first two points stop me. After months of negotiations, legal advice, and relentless client begging for the money, we have secured the trail.

Where did the film appear? How to measure its impact?

The biggest media placement was online, mostly on Flowr’s social media. But it’s not the placement that excites me the most. Our film has found itself in the holy grail of media placements. The one that no amount of money can buy. It must be gained with weight. We have seen budtenders in dispensaries showing our film to clients on their own phones. The Budtenders loved him so much that they acted as unpaid billboards for Flowr.

And guess what? Cannabis can be a highly regulated space and brands can be limited in what they can say. But budtenders can say whatever they want. So getting into their hands, into their conversations with customers, and into the culture of cannabis consumers in Canada is like the punchline of a ’90s Mastercard ad: Priceless.

CREDITS

Director: Alon Isocianu
Production company: asymmetric
EP: Nick Burry and Evan Landry
Producer: Sara Alfaro
PM: Pierre Campbell
PD: Mat Barkley
Art: Little hope
AD: Conor M. O’Brien
AC: Nick Petrie
VTR: Trevor Lawley
Key taking: Painter Rohan
BP: Adrian Antonecchia
Chief: Rory Sommerville-Bathmaker
BP Electric: Jordan Hague
Key props: Kerry Noonan
AP: Brett Garltey, Mark Harris, Molly West
COVID Team: Matt Horvat, Charles Bayani

Editorial: Editorial from abroad
Publisher: Chris Murphy
Producer: Kayan Choi
Assistant Editor: Bryan Ruben

Color: Redlab
Colorist: Jason Zukowski
Producer: Valérie Moss

Line and finish: Studio Feather
Online artist: Luke Bellissimo
VFX Assistants: Ruben Padilha

Audio: OSO Audio
Voice recording, sound design and mixing: Harry Knazan
Executive Producer: Hannah Graham
Producer: Dobbie

Music: “I’m Tired of Hiding” – Millie Jackson

Agency: ZeroTrillion
Creatives: Alex Paquin, Adam Fierman, Amistad Artiz, Sabela Ros Comesana
Producer: Elysia Ravenscroft


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